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Search Results for: Argentina
Songoyó the perfect idea Experimental Cuban Son Group with its own style
Songoyó is an experimental musical group of the Cuban son genre with a particular style, since it fuses many musical rhythms, born on the initiative of Professor John “Goyo” Useche, on November 11, 2021 in La Victoria, Aragua State, Venezuela.
In order to unite Victorian musicians and start putting together songs by the remembered Madera Group, icon of the Caracas parish of San Agustín in Marín, and thus present themselves at the Guataca Salsera, which takes place every December 31 at the Madera 15 court, located in the Las Mercedes urbanization of the same town.
The idea immediately begins to take shape and that is when Professor John “Goyo” decides to communicate his project to Shinaury Rojas, a personal friend of many years, who at that time was based in Argentina, then informs the poet guitarist Rafael Pérez who was in Brazil and knew by reference of salsa groups via the web. Communication was fluid and accepted, regardless of the distance. John, Rafael and Shinaury embody everything that Songoyó is today.
It should be noted that the first name of the Victorian group was Son Madera 15, due to the loyalty that is maintained with the Madera 15 foundation, then it was changed to Sabor Madera 15 and finally they decided to name it “Songoyó” as the definitive name.
The communication was continuous and they immediately began to organize the activities that had to be carried out to group the musicians who were willing to belong to the group, musicians were contacted by phone and in person, finally the interested parties were grouped and the rehearsals began in an accelerated manner at Professor John’s house, to fulfill the main objective which was the presentation at the Guataca Salsera at the end of the year, in that 2021.
From that moment until the present, there have been many musicians who have passed through the son group, including the young music teacher Willian Herrera who is assigned the task of directing the group, the rehearsals are given and four songs are put together that were played at the Guataca Salsera achieving total success in said presentation causing the acceptance and applause of all those present.
By January 2022, the creator of the group calls the musicians and proposes to continue the project, achieving the acceptance of all. In the following months they contacted maestro Fael Alvarado, an expert musician who knows the TRES very well, the base instrument of the Cuban son, who agreed to join the project and professor William Herrera gave the musical direction to maestro Fael.
In February of that same year, the second presentation was made before a large audience at the Juventud de la Victoria festivities on Paseo La Juventud and Songoyó was again liked by the public.
The rehearsals continued, and it was maestro Fael himself as musical director, who proposed to everyone to create their own style with songs that belonged to the group and to have a unique sound in order to accept more contracts from then on.
In January 2024, the recording of the first and unpublished production of Songoyó “EL NEGRITO BEMBA” began under the creation and pen of the poet Rafael Pérez and the general recording direction of maestro Fael, in the recording studio “Fael Alvarado” in San Mateo, Aragua State. This recording was a huge success and can be found on various digital platforms, Its release took place in January 2025, with a great acceptance.
From that moment on, the group began to be sold and promoted for public and private events inside and outside Venezuela.
Currently, there are 8 musicians that make up the group: Norberto Machado, güiro voice, Noel Machado, clave voice and percussion direction, Rafael Pérez, maracas voice, Alexis Tovar, tres, Edwin González, bass, Jonhy Vergara, tumbadoras, Fael Alvarado, tres, piano, violin and musical director, and John Goyo, bongo and general direction.
“SONGOYÓ, THEY ARE AS WE ARE”
For hiring, contact Professor Useche by phone at
+58 424-3212762
Instagram: Songoyo
Facebook: Songoyo
Research and Writing Source:
Oscar Rojas Oscar Rojas has 54 years of musical career full of passion, rhythm and flavor
Oscarcito Rojas and his unmistakable lump.
In Venezuela, during the years 53-54, there were cold and humid nights in the home of the Rojas Mendoza Family, located in a high area of the Pastora of beautiful Caracas, there the furniture that was outside would wake up damp, particularly a child’s chair with a colonial design, which had the back and seat made of cattle leather, which when heated by the heat of the sun became warm like the leather of a coastal drum.
That is when the restless child Oscar, barely 7 years old, discovered the sounds produced by that cured leather and began that love relationship with percussion without realizing that this would be his life; his livelihood; his passion; his everything.
He also devised a pair of congas with two milk cans of different sizes, and thus achieve different sounds in his new instrument.
By the 70s, being a talented young man and wanting to earn his own living, Oscar bought a motorcycle to work as a messenger. Unfortunately, he had an accident on it, which led to his resignation from the company. With the money he generated from the liquidation, he bought a drum kit that belonged to the illustrious Pavo Frank. This is how his foray into rock began.
Later, due to the fractures he suffered in the motorcycle accident, he could not continue playing drums, but he got involved in percussion without a drumstick, which is to say, by hand, and he started playing congas.
Óscar Eduardo Rojas Mendoza is one of the most beloved and respected conga players in the country. He is the third of five siblings (Jaime; Yolanda; Óscar; Freddy and Leibia), son of Óscar Benito Rojas (musician and cabinetmaker) and Cira de los Santos Mendoza (dressmaker).
Loved by all his family, especially by his sons Gabriel ☦️ Osduare☦️ and Enrique; and his granddaughters Gabriela and Daniela.
Born in Caracas on October 18, 1946, he began his musical career in 1970 with Ramón Hernández, continuing with a trail of figures such as: Pablo Schneider, Vytas Brenner, Victor Cuica, Oscar Maggi, Soledad Bravo, Lilia Vera, Frank Hernández (El pavo Frank), Oscar D’Leon, Chuchito Sanoja, Professor Juan Carlos Núñez, Alfredo Naranjo.
He has participated in the best Jazz festivals in the world and in the country such as the Memphis in May International Festival (Tennessee), Varadero International Festival (Cuba), V International Festival of Montreal (Canada), Festival D’te de Québec (Canada), 10 International Festival of Montreal (Canada), Mar de Plata Jazz Festival (Argentina), Curacao International Festival where he was invited by the great saxophonist Paquito D’ Rivera, in the Venezuela Jazz Festival, in the 4 Caracas Jazz Festivals, in the Jazz Festival in El Hatillo editions IV, V and VII, and in festivals in the interior of the country.
He was an active founder of salsa groups such as Oscar D’Leon, where he participated in the recording of the first 3 albums, the group Caribe Libre, Gerardo Lugo’s Incorregibles, Alfredo Naranjo’s El Guajeo, Nano Grant’s Ensemble ll, Pavo Frank and his Orchestra. He was also part of the jazz groups Oscar Maggi (Macoya), Pedrito López, Otmaro Ruiz and Víctor Cuica.
Among the national and foreign artists he has accompanied are: Trino Mora, Chucho Avellanes, Mirtha Pérez, Estelita del Llano, María Rivas, Nancy Ramos, Nancy Toro, Cheo Feliciano, Ted Cordón, Paquito de Rivera, Eddie Sansson, Aldemaro Romero, Chuchito Sanoja, Jimmy Bosch, the Venezuelan Symphony Orchestra, the Municipal Symphony Orchestra of Caracas, among others. He was the founder of the La Calle Group and the Ensemble de la Calle, ReNueve (rock group), Negros and Aparte.
He currently works as a percussionist for Maigualida and his Ensemble. He also rehearses every Wednesday at Juan Sebastián Bar “El Templo del Jazz y La Salsa” with the new Ensamble de la Calle.
He has been in a musical career for 54 years, full of passion, rhythm and flavor.
Research Sources:
De Tierra Caliente founder Bronson Tennis talks about his career and band
There have been many American musicians who have fallen to the charms of Latin music, which is a practically inexhaustible source of genres allowing them to experiment with in many ways. One of them is Bronson Tennis, with whom we have been fortunate to talk about his interesting career and current musical group, De Tierra Caliente.
Bronson’s beginnings in music
Bronson Tennis began to put his eyes on music when he was just a child, when he was very attracted to the 1990s alternative rock movement in the United States. When he was only 11 years old, his parents bought him his first bass guitar and later he also wanted to learn to play the guitar and sing.
In family matters, Bronson and his three brothers are musicians and several of his cousins and uncles have also been musicians. In addition, his mother was a fine artist and his grandmother was an art teacher.
Both in school and church, the boy always chased opportunities to sing and show his vocal skills to anyone who wanted to hear. He also took advantage of all these spaces to learn as much as he could about music until he was old enough to exercise it professionally.
Today, his main instrument is the guitar, although he also plays the cavaquinho (an instrument of Portuguese origin which is widely used in samba) and the roncoco, which is an adaptation of the Andean charango that he uses to play salsa and Cuban son.
Professional debut in music
Bronson also told us that he began his career path as a bassist and chorister in several musical groups in the city of San Diego between 2006 and 2009. He then spent some time in Philadelphia, where he also played with other bands from a variety of genres.
It is interesting that he lived in Buenos Aires, Argentina, where he also worked as a bassist and singer in some bands. In fact, in that same country, he helped form a Caribbean funk band in which he learned a lot about these genres so foreign to what he played in his childhood and youth. He stayed about four years in Argentina, specifically between 2009 and 2012, until he moved to Brazil for about six months to continue learning more and more about Latin music, but it was not his last stop in South America, as he was also in Colombia for a while more.
Following this, he returned to Philadelphia and decided to form his own orchestra which he named De Tierra Caliente.
Prior to De Tierra Caliente
When Bronson returned to Philadelphia, he had the chance to meet some musicians from the Puerto Rican music scene in that city and saw that they had similar outlooks on music, so they got back in the saddle to prepare a formal project amongst themselves.
The artist assures that it was in Argentina where he learned what it takes to move forward with his band. ”Argentines are people who do everything with strength and confidence, whether in music or in soccer. No matter who or what they have to face, as they take on all the challenges with confidence and that is something we could all learn from Argentina.” Bronson said of his stay in that country.
In Brazil, he studied percussion and learned Portuguese, while Colombia taught him to play salsa, champeta, vallenato and many other genres. In short, each country he has visited gave him tools to facilitate his learning in everything about Latin music in various areas.
Precisely thanks to all this acquired knowledge is that Bronson finally felt able to form his own band in 2014 in union with fellow musicians who understood what he wanted to carry out.
How De Tierra Caliente started
Upon his return to the United States, Bronson was very clear that he wanted to incorporate all those elements learned in South America and the Caribbean, but giving them his own touch. It was then that he met conguero Papo Buda, with whom he agreed on much and began the recruiting process for the rest of the musicians.
After that, Bronson and Papo could add more artists to the group, resulting in a fairly consistent group over time. Since its founding, very few musicians have left the band and Bronson and those who remain have an excellent relationship with all of them despite no longer being band mates.
Among his greatest inspirations, Bronson mentioned many artists and groups of various nationalities and genres such as El Gran Combo de Puerto Rico, the Brazilian composer and singer Paulinho da Viola, the group Caribe Funk and many others.
Read also: Latin jazz and mambo trumpeter Jonathan Powell and his great collaborations
The Son Rumbero Academy: E-Learning in virtual classrooms reached the world of dance
Latin America / Venezuela / Caracas
The Son Rumbero Academy, in step with technological advances, now opens a virtual classroom that will allow you to access an interesting range of online courses open to all through distance education processes with invited international instructors.
The teaching and learning processes are led hand in hand by education professionals, people who handle various tools and techniques that allow reaching the objectives of generalized instruction, now, the means and the contexts that affect this process are in the same way. of great importance to meet the aforementioned goals, hence the institutions invest so much time in physical improvements for the setting of the spaces destined to unite these processes.
It is not new to speak that technological means have invaded all areas of knowledge, there is no longer an area or content that is not already in process or in the process of being taught through the internet, hence the term distance learning. It is not something that escapes from the normality of our day to day.
Professor José Manuel Pérez, director of the Son Rumbero Academy with a great career in the field of salsa and education professional in the area of computer science, is carrying out a process of teaching dance through virtual means, in this case, using the so famous virtual classrooms, where it focuses on asynchronous and asynchronous communication processes by which, the didactic interaction with the students predominates as the elementary basis of teaching, the student becomes the main center of self-information managing their learning through tutors and classmates from the open classroom for the specific dance specialty, is learning to dance by learning, it is doing it between appropriate means and environments.
The ways and methods of how to educate in the world of dance have always been maintained, in fact many people look for different alternatives given the circumstances of their tasks, work, home, occupations, in itself, an endless number of causes motivate the desertion when it comes to complying with schedules and routines in dance halls or gyms…
How many do not avoid entering this face-to-face modality due to little free time or the long time it takes to travel to a location, hence new ideas arise that facilitate access to world of dance from any corner of the world and at the time you want, and who would not like to adjust their classes to the hours and days they prefer, even more so if they can change them weekly according to their availability.
The Son Rumbero Academy project is not an original project, E-Learning and virtual classrooms have been in the educational world for several years, only that for the context of dance it was present in tutorial videos, a positive element but more of the same circle for some:
With a virtual classroom, the teaching process is extended, it not only depends on what the student has seen and practiced, in this we obtain constant supervision of the process, teachers dedicated to nourishing theoretical information and practicing something extremely important when understanding music and shaping it in dance it is about taking evaluations, participating in forums or conversations with several students in the same classroom, surveys, tutorial videos, correction process by videos sent to the teacher, easy access to multimedia elements…
from songs to explanatory audios, a world full of of elements that support to a greater degree the fact of learning from any dance discipline, not to mention seminars or professional courses, certifications of improvements in methodological processes in teaching for teachers and instructors, going from evaluation processes for dance competitions to complete percussion courses, a whole world of knowledge and elements given to the me You work in dance and now in music.
For this month of April, the project will begin with 3 high-impact courses, one on Cuban folklore dictated by Mr. Damian Ballester, a certification for instructors based on planning, evaluation and methodological processes of teaching by Professor José Manuel Pérez , closing with a theoretical-practical seminar on the complex of the rumba soon dictated by a professional in this area, director of one of the largest Cuban groups and participate in endless documentaries oriented to the complex of the rumba, a surprise that They will give us soon.
In the same way, they are betting on a new teaching method for beginners, those who perhaps want more privacy when starting steps in the world of salsa or another genre, new media that can contribute to the development of the diffusion of salsa in the world.
The invitation is now open for you to follow the accounts of the son rumbero academy on Instagram and Facebook at @sonrumbero, by the numbers of its offices in Colombia +573022582306, Venezuela +584122110104, Chile and soon in Peru and Argentina.